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WatercolourTHE ART OF

26th ISSUE

THE ART MAGAZINE FOR WATERCOLOURISTS

COVER STORIESChristine PorterRichard ChaoJ.-L. Thibaut…

BRIAN SMITHTransparency and colour to evoke mood

HOW TO: Find beauty in everyday objects and scenes with Lok Kerk-Hwang

ANGUS MCEWAN Texture and shape for strong compositions

NATHAN FOWKESImagination serving reality

WORLDWIDE ART: 50 pages to discover international artists

NEWParticipate in our

competition, and learn how to increase

your success in our next issue

DEAN MITCHELLThe ultimate master of design

26

9772114349016

TTHIS LATEST MAGAZINE DEFINITELY FUL-FILS OUR PROMISE TO TAKE OUR READERS TO FAR-FLUNG DESTINATIONS AND SHOW THEM SOMETHING DIFFERENT, WITH AN IS-SUE THAT GIVES PRIDE OF PLACE TO TRAV-ELLING AND DISCOVERIES. READ ON AND SET OFF ON A JOURNEY THAT WILL TAKE YOU ACROSS SEVERAL CONTINENTS, START-ING WITH AUSTRALIA. YOU’LL GET TO MEET NO LESS THAN THREE, VERY DIFFERENT AUSTRALIAN ARTISTS: RICHARD CHAO AND HIS SENSITIVE PORTRAITS IMBUED WITH EMPATHY; CHRISTINE PORTER WHO IS FOLLOWING IN THE FOOTSTEPS OF AN-OTHER GREAT AUSTRALIAN ARTIST, TOM ROBERTS; AND FINALLY FORMER AR-CHITECT MALCOLM CARVER. THE TRIP CONTINUES TO THE UNITED STATES WITH A PORTFOLIO SHOWCASING THE WORK OF DEAN MITCHELL, WHOSE WA-TERCOLOUR PORTRAITS REVEAL THE DEPTHS OF HUMAN NATURE. THEN, STILL IN AMERICA, WE REPORT ON NATHAN FOWKES AND HIS INSPIRATIONAL WORK IN ANIMATION. BACK ON OUR SIDE OF THE ATLANTIC, AFTER DROPPING IN ON THE QUINTESSENTIALLY BRITISH ARTIST BRIAN SMITH, AND MEETING UP WITH ANGUS MCEWAN, WHO PUTS OUR DAILY LIFE UNDER THE MICROSCOPE, WE CATCH UP WITH SOME FRENCH ARTISTS WHO ARE NO STRANGERS TO THESE PAGES: MARC FOLLY AND JEAN-LOUIS THIBAUT. FINALLY OUR REGULAR COLUMN, KNOW-HOW, PUTS THE SPOTLIGHT ON LOK KERK-HWANG’S WET-ON-WET AND WET-ON-DRY TECHNIQUES.

THE ARRIVAL OF SPRING ALSO MARKS THE BEGINNING OF THE ART FAIR SEA-SON THAT IS SO CONDUCIVE TO DISCOVERING ARTISTS. THERE WERE SO MANY TO CHOOSE FROM, BUT WE DECIDED TO FOCUS ON CAUSSADE WATERCOLOUR FAIR, WHICH DOESN’T MEAN YOU SHOULDN’T VISIT AS MANY AS POSSIBLE, MEET YOUR FAVOURITE ARTISTS AND EVEN SIGN UP FOR A WORKSHOP WITH THEM TO PERFECT YOUR ART. WHO KNOWS, ONE DAY IT MAY BE YOUR TURN TO SEE YOUR WORK FEATURE IN OUR MAGAZINE?

THE EDITORIAL TEAM

Cover photo: Richard Chao, Looking into the Sky. 55 x 75 cm.

On the Edge [détail], par

Angus McEwan

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NOUVEAU : Participez à notre concours et améliorez vos chances de remporter un prix

SAVOIR-FAIRE RENDRE LA BEAUTÉ DU QUOTIDIEN AVEC LOK KERK-HWANG

ET AUSSI…JEAN-LOUIS THIBAUTLINDA HUTCHINSONBRIAN SMITHCHRISTINE PORTER

ANGUS MCEWAN p. 54

COMBINER TEXTURES ET COMPOSITION

IMPRIMÉ EN FRANCE

DEAN MITCHELL p. 44

DES PORTRAITS EMPLIS DE VÉRITÉ

NATHAN FOWKES p. 72

L’IMPACT DE LA LUMIÈRE SUR LES FORMES

Peindre l’essence du modèle

Tour du monde de l’aquarelle

en 50 pages

AustralieUSA, France…

décrypte pour vous son œuvre préférée

Richard Chao

Marc Folly

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And did you know The Art of Watercolour also exists in French? Our sister magazine is L’Art de l’Aquarelle.

Let’s go meet the artists

Discover HHE, The Personalized Home Painting Program by Janine Gallizia

“ We are limited only by the limits we accept” J. G.

Contact:

jgallizia@gmail.com or www.facebook.com/janine.gallizia

The length of the program is 1 month. There is no limit to the exchanges between us. It is at your own pace.

Janine Gallizia : International Artist, International

Judge and Curator, Art Director of the magazines ;

‘The Art of Watercolour’and ‘L’Art de L’Aquarelle’

Description of the course: More people seem to be searching for ways to express themselves through painting; fi nd their own style, be more creative, create atmospheres, trigger emotions in their own original style or learn where and how to exhibit and start a painting career. But how does one learn how to do this? To be honest with youI have never seen these areas being taught anywhere. Why? I think it is just too hard to teach in a group, it would take individualized courses adapted to the person’s needs, desires, level and goals.

You are the key to your painting; that is the real secret. Who you are and how you feel dictates what and how you paint ; your choice of colour and tonal values, your choice of subject, technique and style are all part of who you are. In painting, just as in life, we have blockages and habits that hinder our progress, and it is precisely by working with our strengths and weaknesses that we proceed to create our own personal style.

With HHE, I propose this year to help you fi nd this liberty. A liberty that will allow you real positive and creative evolution.

With HHE, you will benefi t from a course adapted to your needs.

With HHE, you will work simultaneously your Head, Hand and Eye in order to ensure real and rapid improvement in your painting.

With HHE, you will:• Learn how to improve your creativity.• Learn what works and what doesn’t and WHY!• Learn how to master tonal values and colours.• Learn how to create colour schemes to suit your subject and mood.• Learn how to improve your compositions.• The watercolour techniques ; why and when to use them.• Learn to see your habits, strengths and weaknesses and use them

intelligently. • Exercises to improve your drawing skills.• If desired information to help you start or improve your exhibition possibilities and results. • All this information is available to you after the course to allow you

to keep progressing. ADVE

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T

No 2656

68

38

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60 BRIAN SMITHFond both of urban scenes and bucolic landscapes, more often than not, Brian Smith only uses three colours!

66 SUBSCRIBE TO THE ‘ART OF WATERCOLOUR’!

68 NATHAN FOWKESIs it because he also works in animation that his watercolours are so expressive and have such vibrant colours?

74 ALI SARMADIAlmost abstract paintings inspired by his Persian heritage.

78 MALCOLM CARVERDetailed watercolours grounded in his training as an architect.

84 KNOW-HOWLok Kerk-Hwang, rendering the marks of time.

88 MY FAVOURITE PAINTINGMarc Folly and Poterie des frères Not.

www.artofwatercolour.comTHE ART OF WATERCOLOUR Published by DIVERTI Éditions S.A.R.L. with a capital of 250,000 ¤ 490 317 369 RCS Poitiers 17, avenue du Cerisier Noir 86530 Naintré, France - Main Shareholders: CAPELITIS Group - Photo-engraving: DIVERTI ÉDITIONS - Printers: MEGATOP, 13, avenue du Cerisier Noir 86530 Naintré, France Sending text or photos implies the author’s agreement for publication free of copyright

and supposes that the author has in his/her possession any authorisation necessary to publication. - All rights reserved for documents and texts published in The Art of Watercolour. Any reproduction of articles published in The Art of Watercolour, either in part or whole, is strictly forbidden without the express written agreement of Diverti Éditions, in compliance with the French law on literary and artistic property of March 11th 1957.

Articles and photos, which are not retained for publication, shall not be returned. The editorial staff shall not be liable or responsible for the content of texts, nor for illustrations and photos that they receive. - Publication registration: 0321 K 90760 - ISSN: 2114-3498 - Legal deposit on date of release - Quarterly - No. 26 - March-May 2017Subscribers in Canada and USA: ExpressMag 8155 rue Larrey, Anjou (QC) H1J2L5.

Tel : 1800 363 1310. The Art of Watercolour, ISSN 2114-3498 is published quarterly by Diverti Editions. Periodicals Postage paid at Plattsburgh, NY.POSTMASTER: Send address changes to The Art of Watercolour c/o ExpressMag PO Box 2769, Plattsburg, NY 12901-0239Prices for 1 year / 4 issues : Canada 62 $ CAN, USA : 45 USD

90 OUR READERS’ COMPETITION

94 LINDA HUTCHINSONInfluenced by her everyday surroundings, she paints intimate subjects in subdued neutral colours.

98 CONTACT THE ARTISTS

99 IN OUR NEXT ISSUE

Contents32

12

14

26

6 ZOOM ONCaussade International art fair 2017.

8 INTERNATIONAL NEWSWatercolour events from all over the world.

12 WE WERE THERE…1st Taiwan World Watercolour Competition & Exhibition

14 SOCIETIES AROUND THE WORLDThe National Watercolor Society will celebrate its 100th anniversary in three years’ time.

16 REVELATIONSDiscover our selection of noteworthy artists.

20 FLY ON THE WALLArtists’ news on the Internet.

22 MY LATEST PAINTING8 artists present their latest works.

26 RICHARD CHAOAn artist who endeavours to represent the inner world of his models, their feelings and problems.

32 CHRISTINE PORTERTravelling across Australia to paint farms despite the constraints of a hot and dry climate.

38 ANGUS MCEWANAngus McEwan talks about why he is drawn to textures and bold colours and details his approach.

46 PORTFOLIO: DEAN MITCHELLPortraits full of humanity that don’t not leave indifferent. The artist talks about his motivation, commitment and passion guided by empathy.

56 JEAN-LOUIS THIBAUTThe beautiful landscapes of Normandy and portraits of his loved ones are the favourite themes of this realistic painter.

Printed in France 17, avenue du Cerisier Noir 86530 Naintré France Tel.: Editorial Office: +33 5 49 90 37 64Fax Editorial Office: +33 5 49 90 09 25 E-mail: editorial@artofwatercolour.com - EDITORIAL STAFF Editor-In-Chief: Jean-Philippe Moine - Deputy Editor-In-Chief: Laurent Benoist

Chief sub-editor: Élodie Blain Art Director: Janine Gallizia Graphic designer: Audrey SaléGraphic design team: Mathilde Hamard, Hervé Magnin - Translation and adaptation: Simon Thurston - Scanner Operator: Franck Sellier - Manager: Edith Cyr-Chagnon

ADVERTISING Tahoma, Cédric Célestin, (0)6 24 38 66 21 - c.celestin@tahomafrance.com - SALES, MARKETING AND DISTRIBUTION Frédérik Favier Tel.: (00 33) 5 49 90 09 19 - Distribution France: Presstalis - MANAGEMENT Financial Director: Fabien Richard - Export: Export Press contact@kdpresse.com +33 142 46 02 20

Published by DIVERTI Éditions S.A.S. with a capital of 250,000 ¤ 490 317 369 RCS Poitiers 17, avenue du Cerisier Noir 86530 Naintré, France

WatercolourTHE ART OF

www.artofwatercolour.com

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AUSTRALIAN ARTIST MALCOLM CARVER DRAWS HIS WATERCOLOUR KNOW-HOW FROM HIS YEARS OF EXPERIENCE AS AN ARCHITECT. HE SPEAKS HERE OF HIS

SOURCES OF INSPIRATION,

CHOICE OF SUBJECTS AND THEIR TREATMENT.

From architecture to watercolour

Malcolm Carver

The Iconic Tower,

Paddington, Sydney.

76 x 26 cm.

The Art of Watercolour: How did you get started with art and watercolour in particular?Malcolm Carver: Having loved drawing from early childhood I became an architect, a job that required graphic skills to communicate with clients well before the advent of com-puters. Manual drawings, physical 3D models and constant freehand sketching were the tools of the trade. Working drawings for construction were coloured in watercolour to delineate materials and fi nishes and although computers in architecture have now signifi cantly changed the process, sketching remains an invaluable skill, one that has sponta-neity, speed, simple linework, minimal detail and is a great communication tool. Colour should be minimal. I have always sketched everyday. It allows me to carefully observe, fi lter the essentials and capture a moment in time. It’s important to know when to leave the sketch, often unfi nished, never overworked. Watercolour is a natural progression, always with some light pencil work and a technique, described by others, as ‘drawing with a brush’ rather than a pencil. Same process different result. My preference is always for minimal colours with a limited palette and no greens!

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Rhodes Old Town.25 x 19 cm.

“The underlying theme in my works, whether landscapes, seascapes or street scenes is travel. Both points of interest and more banal subjects illustrate the travel journals that I publish and which feature my favourite places.”

78 WATERCOLOUR NO 26 / MARCH-MAY 2017

MALCOLM’S ADVICE ON HOW TO PROGRESS IN YOUR WORK

“The best piece of advice I’ve ever been given was by the Australian artist Lloyd Rees (1893-1986).

He said: ‘Look for the light and you will fi nd it’.”

another artist’s exact style. I began to appreciate my own work, which evolved as I gained confi dence. I did not seek the advice of my family, but rather fellow artists I respect. I was self-critical, but also kept some past work to bear wit-ness to my progress over time. I tried not to be timid, tried a bit of bravado, and became confi dent with different types of stroke making e.g. single dry brush strokes with little water and lots of juicy pigment. Everyone has their own inimitable style and may also be infl uenced by others. I watched how others did things, with constant regular practice being the key. My thumbnail sketches are sometimes more beautiful due to lower expectations of success.

TAW: How has your style changed over the years?M. C.: There are always subtle variations in one’s style that are sometimes dictated by subject matter. Overall, I would say I have a loose, fresh style, which has always been my ambi-tion, although I don’t get it right every time. As watercolour is an experimental medium, one needs to be self-critical and prepared to discard, or not sign certain works so as to strive for excellence.

TAW: How have your painting materials changed since you fi rst started?M. C.: Dramatically! Over the years I have bought every conceivable type of brush, falsely believing you need a vari-ety of tools. I learnt the hard and expensive way. Being a traveller I was also hard on brushes, particularly the points. Over many years I gradually began to minimise the number of

Monsalvat cottage, Melbourne. 20 x 32 cm.

Try to practice and gain confi dence in observation in order to improve your drawing skills above all else. Learning to see rather than drawing from ‘memory’ is fundamental and crucial prior to painting. Secondly experiment with abstract shapes and fresh blues, browns and clean water. Tilt the sheet and let them run together so that you can understand the importance of ‘stitching the painting together’ with multiple greys, before looking for the coloured elements. Taking a fresh and loose approach can break any old habits of colouring in. Try to stop putting in excessive detail in the hope of saving something and believe in yourself. Find the confi dence to accept the result. Don’t go back and fi ddle with it. Practice makes perfect.

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Experiment with blue and brown pigments and clean water: letting them fl ow and mix will help you to understand how colours blend together.

81WATERCOLOUR NO 26 / MARCH-MAY 2017

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TAW: What do you wish you knew about watercolours before you started?M. C.: I wish I had realised earlier on the exquisite quali-ties of this transparent medium and acknowledged that it is not a ‘colouring in’ medium. The transition to discovering that it was really all about light and tone and not colour took too long. It was frustrating. We are all often misdirected at school and at home to colouring in. It’s lazy to follow that path. Studying Chinese calligraphy and observing students overworking their watercolours with excessive brushstrokes has taught me to be more sparing. I also wish I had learnt to appreciate the effects of letting the watercolour run on the paper, instead of painting inside shapes.

TAW: What is the best part about working in this technique?M. C.: The best thing is when you simply let it happen! What a joy to see the pigments fl owing and creating other subtle colours as they mix on the paper. Yes it’s an experimental process, although with a little knowledge of which colours run well together you really can let go. I also enjoy making luminous greys rather than using premixed pigments and this has reinforced my ambition to use less pigments rather than more, and to do so with more freedom and confi dence. In watercolour, some happy accidents really are happy, so my advice is to leave certain results and not to tamper and over-work through excessive brushwork. One stroke is better than ten. Maintain an experimental approach, stop, sit back and watch and above all don’t correct prematurely.

TAW: Have you ever experienced a creative block?M. C.: No. As the time to execute a watercolour is relatively short compared to a major oil painting, you simply need to be proactive and move on to a new subject. I travel a lot so I’m never shy of another subject.

TAW: What is vital to painting a good watercolour?M. C.: Spending enough time in preparation, doing thumbnail and outline sketches and using acute observation skills to discern critical shapes with depth. It is also vital to have a clear understanding where the primary light source is and the resulting shadows for a 3-dimensional effect. Finally paint with passion along a proven pathway.

TAW: What are some of the most common mistakes that you see when teaching beginners?M. C.: Poor observation skills, an inability to see tone through squinting, a lack of understanding of the importance of light in the subject and using the watercolour medium like poster paints, with an incorrect belief that it’s all about colour. It’s not about colour it’s about tone. Beginners also don’t take into account enough that the white paper is the lightest value and have little appreciation for the need to understand trans-parency.

TAW: How did you fi nd your style? M. C.: My style came from progressive focused practice and experimentation. You can take inspiration from as many watercolourists as you like, but avoid consciously copying

“Don’t always paint from light to dark, sometimes it is best to add dark fi rst

in order to ‘nail’ the light.”

Road out of the Hill End.

26 x 40 cm.

80 WATERCOLOUR NO 26 / MARCH-MAY 2017

Demo Burns Bay

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THE DRAWINGThe success of painting begins with looking at and understanding the subject. Start with an accurate drawing, noting in particular how the light and shadows fall on shapes. The drawing process requires close observation of the subject. Sketch lightly and freely, but keep the waterline parallel with the top of the sheet. To retain the white in the boat and ripples I use masking fl uid sparingly. Incline the backing board at a 35 degree angle.

USE DARKS TO PUSH THE BACKGROUND FURTHER AWAYPaint shadow areas in mid-ground areas in stronger darks and drop fresh and juicy splats of burnt sienna and ultramarine blue into the wet areas. The darks create the mood of early light. Try not to mix the colours in the palette, but allow them to mix on the paper to preserve freshness. Indicate the tree trunks and foliage without leaves!

LAYING IN THE BACKGROUND AREASBegin painting the distant shore in warm and cool grey colours to block in areas, leaving the white of the distant boats facing the light and some suggestion of buildings. Keep the whole background in the lightest tone. Ensure the background shape with the sky has soft blurred edges to create a perception of depth. Add a touch of burnt sienna and magenta into the bead. Allow the bead to create a ‘caulifl ower effect’ to suggest trees.

THE BIG WASH Use masking tape to block out the boat shapes and then begin a graduated wash for the water with cerulean and ultramarine blue. Apply this wash slowly, adding stronger pigment into the wash as you work down with long ‘Z’ strokes. Overlay a cerulean and ultramarine blue wash, slowly adding thicker pigment into the wash as you work down. When dry, rub off the masking fl uid and remove the tape.

THEN AT LAST… ADD THE DETAILS Keep the boat waterlines horizontal to suggest that the water is still. Burnish the mid-ground landscape shapes with a stiff bristle brush and water and lift out colour to suggest light in the foliage. Add further darks into the foliage. Use a white gel pen sparingly to suggest the details of the boats’ refl ections and masts. Finish with the signature!

Burns Bay, Sydney Harbour.

26 x 76 cm.

1

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HERE THE DRAMATIC COMPOSITION IS FRAMED SO AS TO CREATE A DISTINCT SENSE OF DEPTH TO THE BACKGROUND ISLAND PROFILE.

83WATERCOLOUR NO 26 / MARCH-MAY 2017

brushes and now have literally one multi-purpose brush, plus a 40 mm wide hake for broad washes, a cheap bristle brush for lifting out colour and a fan brush for some landscape effects. My multi-purpose brush I now have made especially for me: it’s a 6-mm wide, short synthetic dagger in a travel format to protect the point.

TAW: What qualities keep you faithful to watercolour? M. C.: Its freshness of colour and loose sketchy style. The luminous colours, clarity in graduation of depicted light, use of the white of the paper and transparency that lets other lay-ers shine through. Also the caulifl owers and blooms that can be delightful, particularly in landscapes. Let them happen.

TAW: What objectives are you striving for right now?M. C.: Having been committed to teaching over the past ten years, I am enormously grateful to the many people with whom I’ve shared my watercolour world and skills. Whilst this has been immensely rewarding, I now selfi shly wish to focus on my own work and raise the consistency and quality of my painting. When travelling you also miss the deadlines for potential group exhibitions and gallery obligations. Perhaps a more discerning selection of workshops will enable me to keep up the travel and teaching opportunities, whilst hopefully leaving me more time to meet my personal expectations and obtain accolades and awards that might prove worthwhile.

TEXT: LAURENT BENOIST. PHOTOS: ALL RIGHTS RESERVED.

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I COULDN’T DO WITHOUT… … An iPad with the ‘Valueviewer’ app installed. Ok we can all squint, but this app developed for the Plein Air Artists of America enables tones to be clearly viewed in your photos, both outdoors and in the studio. Using the Valueviewer app to check my tones can also help me ascertain that the end is near.

COMPOSITION- Accurate drawing is fundamental. Try not to distort the subject, because good painting won’t fi x a poor drawing. Work fast and don’t overwork your brushstrokes. One stroke with conviction wins every time. - Be aware that light does not magically appear at the end. Capture the light from the very fi rst step and then preserve and enhance it until the very end.- Protect the primary strong light direction and seek consistency and continuity throughout, particularly with shadows to reveal the 3D shapes. Seek out refl ected light and ensure shadows have hard and soft edges.

TOOLS AND PAPERI own a circular travel palette with sealed lids for a maximum of 12 warm and cool colours with no mixing wells. Having begun with cold pressed or rough paper many years ago, I have also experimented with ‘Yupo’ for a short time, which provided inspiration for allowing colours to move together with scary but interesting results. I have found similar attributes with hot press smooth paper, but with more control and great results in moving colour washes about.

MY COLOURSI recommend Winsor & Newton pigments for my workshops are as they are readily available worldwide. I use Winsor & Newton colours supplemented with Daniel Smith (USA) to provide slightly more variety in my studio work. Here is my W & N palette:- Quinacridone Magenta- Cadmium Red- Cadmium Orange- Raw Sienna- Cadmium Yellow Pale- Quinacridone Gold- Burnt Sienna- Neutral Tint- Daveys Gray- Cerulean Blue- French Ultramarine Blue- Ultramarine Violet

FINDING A SUBJECTI constantly look for ‘images’ and take numerous photographs with my iPhone. The larger works, A3 to full sheet, begin as small sketches in travel sketch books or more recently on an iPad. This is a constant fi ltering process of selecting my favourite photos, always looking for interesting subjects with exceptional light, doing numerous sketches of special subjects and ultimately doing larger paintings to show exceptional light opportunities.

Peaceful on Clarence River.54 x 76 cm.

82 WATERCOLOUR NO 26 / MARCH-MAY 2017

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The best artists: Ann Pember, Atanas Matsoureff, Dmitry Rodzin, Dean Mitchell, Denny Bond, Geoffrey Wynne, George Politis, Janine Gallizia, Marc Folly, Jeannie McGuire, Paul Dmoch, Jerald Silva, Marie-Line Montécot, Tejo Van den Broeck, Eva Tomkins.Themes: Still lifes, Seascapes, Landscapes, Street Scenes, People, Interiors, Portraits, Abstract, Figures…

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